It’s a celebration, bitches. According to her, Azealia Banks is free from the constraints of her mean, evil, awful record contract with Universal. So, we’re probably going to get even more lukewarm music and even messier beef in her bid to stay relevant in the coming weeks and months.
This whole ordeal and her blatant glee at being released has her coming off as a c-word, and I never use that word unless I’m really trying to make a point (I still don’t understand why it’s such a horrible word, but that’s neither here nor there).
So, the label signs her off the strength of one song, and then they have a tax-write off for two years off her. “Yung Rapunxel” and “ATM Jam” were okay, but they definitely weren’t tracks that got us talking. I guess that’s where her messy Internet beefs came into play.
In this situation, the label clearly shouldn’t have signed her, and she shouldn’t have signed that deal. Two wrongs don’t make a right, but the fact that she threw away the opportunity when so many other artists would’ve taken full advantage of it rubs me the wrong way.
What irks me the most is that there are so many talented artists out there, plenty that we write articles about each day, who don’t get the attention that they or we feel like they should get. I hesitating to use the words “entitled” and “deserved” because really, is anyone entitled to anything? Just because I work hard doesn’t mean I “deserve” a Mercedes Benz S500 if I can’t afford it.
The only thing tackier than Banks’ style is her attitude. I’m hoping that her new-found freedom from her label will get us talking about the one thing that got her on our radar to begin with – her music. I’m not getting my hopes up, even if I did find her Fantasea tape to be dope, albeit most of the songs sounded the same.
But, at this point, it’s whatever with her. Here’s to Azealia Banks’ new freedom. Let’s hope she uses it properly because freedom is never actually free.